A list of all the songs & passages in Shakspere which have been set to music

CENTRE
for
REFORMATION
and
RENAISSANCE
STUDIES

VICTORIA
UNIVERSITY

TORONTO

A LIST OF

ALL THE SON-GS AND PASSAGES
IN SIIAKSPERE

WtIICH HAVE BEEN SET TO MUSIC.

A LIST OF

ALL

THE SONGS & PASSAGES
IN SHAKSPERE

WHICH HAVE ]3EEN SET TO MUSIC.

COMPILED BY
J. GREENHILL, TIlE REV. \V. A. ItARRISON,
_AND F. J. FURNIVALL.

THE WORDS IN OLD SPELLING, FROM THE QUARTOS
AND FIRST FOLIO,
EDITED B"
F. J. FURNIVALL ,ND \V. G. STONE.

PUBLIStIT FOR
C[It rl %tjatFrrc otitt
BY N. TRBNER & CO., 57, 59, LUDGATE HILL,
LONDON, ISS 4.

P, EF. & REH.

CLA'Y A."-D TAYLOR. TH CH.A'CER PRE -'v', "B'U2'GA.T. SUFFOLK.

CONTENTS.

Forewords ...............
Contents of the chief Collections of Shakspere Music ...
ALL'S WELL THAT ENDS WELL:
For I the ballad will repeate .........
Was this faire face the cause, quoth she ...
ANTHONY AND CLEOPATRA:
Come, thou Monarch of the Vine ......
AS YOU LIKE IT:
Blow, blow, thou winter winde ......
From the east to westerne Ind ......
It was a lover, and his lasse .........
Then is there mirth in tleaven ......
Under the greene wood tree .........
,Vedding is great Juno's crowne ......
V'hat shall he have, that kil'd the deare ? ...
COMEDY OF ERRORS:
Oh, for my beads ! I crosse me for a sinner ...
CYMBELINE :
Feare no more the heate o' th' sun
Hearke ! Hearke ! the larke at heaven's g-ate sings
HAMLET, PRINCE OF DEN.,IAKK:
And will a not come again ? .........
Bonny sweet Robin ......... ...
Doubt thou the starres are fire ......
How should I your true love know ? ......
Stanzas for grave-digger .........
They bore him bare-faste on the beere ......
To-morrow is S. Valentine's day ......
Why, let the strooken deere goe ",veelze ...
KING HENRY THE FOURTH. P.Rx II.:
Do nothing but eate, and make good cheere ...
Health to my soueraigne .........
KING HENRY THE EIGHTH:
Orpheus with his lute made trees ......
KING LEAR:
Four snatches sung by the Fool ......
St. Withold footed thrice the wold ......
T o snatches for the Fool .........

ix
IAG
2
I

4
5
6
8
3
8
6

9

|O

13
3
II
12
4
I3
I4
12

15
5

16

I7
8
8

FOREWORDS. CHAPPELL'S  MUSICAL MAGAZINE.' XXV"

1865. The Music in Shakspeare's Tcmlcst , by Purcell,
_Arne, Smith and Linley. New Edition, with additions
by Dryden, &c. London. C. Lonsdale. [I give only
the genuine pieces, as usual.]
No more Dams I'll make for fish. Solo. J.C. Smith ....... 2
Come unto these yellow Sands. Solo and Chorus, S.A.T.B. Purcell. 28
Full fathom five. Solo and Chorus, S.A.T.B. Purcell ...... 3
Where the bee sucks. Solo. Dr. Arne ............ $6
,, ,, ,, ,, Quartet, S.C.T.B. Harmonised by" .V.
Jackson of Exeter .................. $9
(Four spurious lines are added, followed by the genuine ' Over
park, over pale, Thorough bush, thorough briar ; Over hill,
over dale, Thorough flood, thorough fire' (.1L W. Dream) ;
and then ' Merrily, merrily' conies in again.)
While you here do snoring lie. Solo. T. Linley. Appendix ... 69
Ere you can say ' Come and go.' Solo. T. Linley ...... 7t
ttonour, riches, marriage, blessing. Duet. W. Linley ...... 77

I866(?). Chappell's Musical Magazine. Ed!ted by E. F.
Rimbault. No. 47-- Thirteen Standard Songs of
Shakspeare. Price is.

L Blow, blow, thou winter wind (As 9,ou like it). Solo. Dr. Arne.
. Where the bee suks (Tcmbcs O. Solo. Dr. Arne.
3- Under the greenwood tree (Asyou likeit). Solo. Dr. Arne.
4. When dfises pied (L. L. Lost). Solo. Dr. Arne ......
5- Come unto these yellow sands (Temlcsl). Solo and Chorus.
6. Full fathom five (Tt'mlest). Purcell.
(7- Oh! bid your faithful Ariel fly. 0.Vords by Dr. Laurence.) T.
Linley.)
8. Sigh no n:ore, ladies (.linch Ado). Solo. R.J.S. Stevens.
9- Bid me discourse (l'n. and Ad.). Solo. Sir H. R. Bishop.
xo. Who is Sylvia? (Two. Gent.). Solo. F. Schubert.
. Hark ! the lark. (Cymbelbw). Solo. F. Schubert.
x2. On a day (for two voices) (L. L. Lost). Sir H. R. Bishop.
3. The airs sung by Ophelia (tfamlet). Traditional. 'How should
I' ;  Lady, he is dead ;' White his shrowd' ; ' Good morrow' ;
They bore him bare-faced'; ' For bonny sweet Robin'; 'And
will he not come '.

22 LOYE'S LABOUR'S LOST.

The Song.
Spring.
H7zen Da.fles pied, and lolets blew, 877
And Ladi-fmockes all.filuer white,
4nd Cuckou'-buhts of yeilou, hew,
Do paint the lIeadou'es with delight, 8So
Tire Cuckou, then, on euerie tree,
llocks married men ; for thus finges bee : 882
Cuckow !
Cuckow, Cuckow ! O word offeare,
15pleqfing to a married eare ! 8S.
If'hen Skepheards pipe on Oten Strau.es, $86
Mnd merrie Lathes are Ploughmens Clocks,
If'hen Turtles tread, and Rookes, and Dawes,
And llaidens bleach their fummer fmockes, 8q 9
The Cuckou, then, on euerie tree,
llockes married men ; Jbr thusfinges bee : 89t
Cuckow !
Cuckow, cuckow t. 0 word offeare,
l'npleang to a married care ! 894
RICHARD LEVERIDGE, I72.g?, I727. Solo. On a sheet in a vol. in
Brit. Mus. Lib. G  ; ith the title ' The Cuckoo.'
D. T. A. ARYE, 74o. Solo, Soprano. Sung by Mrs. Clive in,4s You
Li].t It. ' Shakspere Vocal Album' (864), p. 4-
JOHN Sa'WORD Strrn, 784. Glee for three male voices.
G. A. MAC-'ARRE.\', 864. Part Song, S.A.T.B. Novello. 'Choral
Songs,' No. 4.
RXCHARD S.tl'SO.', about x86--; published x878. Stanley Lucas.

"WIIEN ISACLES ItANG BY TIlE WALL."

a, Vinter.

lI'hen I.facles hang l'y the wall, 895
4nd Dicke the Sheepheard l'lou'es his naile,
,And Thorn beares Logges into the hail,
And Milke corns frozen home in paile, 895
H'hen Blood is nipt, and u'aes be fou.le,
Then nightly Jnges the Jiaring Ou'le 900
Tu- hit, to-who !
A merrie note,
If'bile greafie Ione doth keele the pot. 903
ll'hen all aloude the u'inde doth blou', 904
4nd cod'ng drou'nes the Parfons fau',
4nd Birdes fit brooding in the Snou',
And .Xlarrians noFe lookes red and raw; 9o7

MERCHANT OF VENICE.

27

Act II. Scene vii. lines 65--73.

"ALL THAT GLISTERS IS NOT GOLD."

[orrocho. [opens the Golden Cafiet] 0 hell!
heare ?
A carrion Death, within vhofe ernptle eye
There is a written fi:roule] Ile reade the writlng: 1
[Reads-] "All that gliflers is not gold ! "
Often haue ou heard that told ;
AIan:t a man his life hath fold,
But m:t out.fide to behold;

what haue

wee

64
66
68

1 The lines in the 'lhedule" of the Silver Casket opend by Arragon
(II. ix.), and those in the ' fcroule" of the Leaden Casket opend by Bassanio
(III. ii.) do not seem to have been set to music. They follow here :--
Arragon... 3,V hat is here ?
[Reads] The fier feauen times tried this. II. ix. 6z
"Seauen times trie,t'" that Judgement is,
That did neuer choofe amis.
Some there be thatJhado.-wes kis ; 65
Such haue but a fltado.-wes blis.
There be fooles aliue, 1.wis
Siluer'd o're ; and fo ,was this. 68
Take what .ife_you 'ill to bed
1 will euer beyour head:
So be gone ! ,you are fped! II. ix. 7'
Arragon. Still more foole I fhall appeare
By the time I linger heere.
3,Vith one fooles head I came to woo,
But I goe away with two.
[To PORTIa] Sweet, adiew !

The continent and

Heeres the fcroule,
fummarie of my fortune !

A gentle fcroule !

[Reads] You that choofe not b,y the ,vie`w, III. ii.
Chaunce as faire, and chcofe as true !
Since this fortune falls to you,
Be content, and feeke no ne`w !

()
If j:ou be 'ell pleafd .-with this,
And hold,your ./brtune for.your bliffe,
Turne you where ,your Lady is,
And claime her 'ith a louing kis !

T Falre Lady ! by your leaue !

[ kuses her.

MIDSUMMER .NIGtlT'S DREAM.

My eare flmuld catch )-our voice, my eye, your eye,
My tongue thould catch your tongues 1\ eete melody ! z 89
\Vere the world mine, (If)emelrius being bated,)
The relt lie git,e to be to you tranllated, xgx
O, teach inee how you looke ; and with what Art,
You l\vay the motion of Demetrius heart ! 193
CHRISTOPHER SMITH, 754. Solo, Soprano. In the operatized 3I. &:
Dream, called ' Fairies.'
"V. SHIELD, 1796 (?). No. 2 in 'Shakespears Duel  and Loadstars.'
(2,lee for three voices. Also in ' Shakspere Vocal Magazine,' $64,
No. 43-
E. J. LODER, I8-14- Solo, Soprano or Tenor, from lower D to upper G.
No. 5 of a set of six Songs of the Poets,' by Lodcr.
EDWARD HINE. Solo, Soprano or Tenor, from loxcr I) to upper G ;
key of E.

.1/..A: )grcaut, I. i. 2o47.
"BEFORE TtIE TIME I DID LISANDER SEE."
[I [ermla promises Itelena that she'll leave Athens (with Lysander),
so that Demetrius--who loves her instead of Heleua--shall be no
longer tempted, by the sight of her, to refuse Helena his loe.]
Ilermia. Take comfort  he no more flmll fee my face :
L.fander and my ldfe will fly this place. 203
Before the time I did Lfimder lbe,
Seem'd ltkens as a l'aradil to lnee. 205
) then, what graces in my loue dooe dwell,
That hee hath turnd a heauen vnto a hell  207
CHRISTOPHER SMITH I7  Song. In the Fairies.'

.IL : Dream, I. i. 234--9.
"LOVE LOOKES NOT WITH THE EYES, BUT
WITH THE MINDE."
[Hermia and Lysander having gone, Helena soliloquises on Loe's
power and blindness, and laments her lover Demetrius's faithlessness
in giving her up for Herlnia.]
Helena. How happie rome, ore otherfome can be!
Through Athens, I am thought as hire as thee. .27
But what of that ? Demetrius thinkes not fo;
lie will not knowe, what all but hee doe know. '--9
And as hee erres, doting on Hermias eyes,
So I, admiring of his qualities. 23 z
x The Duel is, 'It was a lordllngs Daughter.'--PTss. Pilgrim.
I 2

IIIDSUMMER NIGHT'S DREAM. 41

By rome illufion, fee thou bring her here
lie charme his eyes, againft flae doe appeare.
Rol'in. I goe, I goe ! looke how I goe
Swifter then arrow, from the Tartars bowe!
Ol'eron. Flower of this purple dy,
Hit with Cupids archery,
Sinke in apple of his eye !
\Vhen his loue he doth efpy,
Let her thine as glorioutly
As tile I'enus of the tky !
\Vhen thou wak'ft, if the be by,
Begge of her, for remedy.
CHRISTOPHER SMITH, 754. Solo.

99
[Erit. xoi
[Drops iuice into DEta-vs eye_.
xo 5
Io 7
 o 9
Sung by Oberon. 'The Fairies.'

,L A: Dream, III. ii. 379--87, 396--99.
"I.O, 1 NIGIIT'S SWIFT DRAGONS CUT THE
CLOUDS FULL FAST."
[Demetrius, on waking, falls iolently in love with his old sweet-
heart IIelena, with  hom Lysander--under the influence of the pansy-
juice--is also n love. Lysander challenges Demetrius to fight for
lielena. Oberon bids Pnck ' oercast the night,' and lead the rivals
apart and astray, and tire them out till they thll asleep. He'll then
cnre Lysander, and give him back to Ilerm:m. Puck answers :]
l'uck. My Faicry Lord, this nmft be done with hafle,
For Nights t\viff Dragons cut the clouds lull fail, 379
And yonder lhines Auroras harbinger i
At whofe approach, Ghofls, wandring here and there, 38i
Troope home to Churchyards : damn//d tiirits all,
That in croflb-waies and floods haue buriall, 383
Already to their wormy beds are gone ;
For fi:are leafi day flmuld looke their flmmes vpon, 385
They wilfiflly themfelues exile from light,
And muR for aye confort with black-browed night. 387
T. COOKE, 84 o. Solo, Soprano. Sung by Miss Rainforth as st Fairy
in the Alidsummcr .Viht's Dream.

2L N. Dream, III. ii. 396--9.
"UP AND DOWN, UP JkND DOWN."
[Ptck assures Oberon that he'll mislead, and tire out, the angry
rivals /'or Helena's Love, Lysander (when under the charm) and
Demetrius :]

1 or Shakspere.

ROMEO AND JULIET. TAMING OF THE SHRE%$.

DR. J. KEIP. Solo. Violoncello Ob. Begins, 'Love heralds should
be thoughts.' ' Illustrations of Shakspere,' by Dr. J. Kemp.
ttOWARD GLOX ER. 1861. Song, Soprano. Called ' Sweet good night
or Juliet's Song.
COL'XTESS MARXE CORELLI, X882. Recitative and Air. Called ' Romeo's
good night !' Stanley Lucas.
(See W. S. STEVENS'S ' Lyric Recitation of the Garden Scene in
and uliet, paxaphrased from Shakspere,' I881.)

Romeo aml ulA't, I I I. v. I--I I. Quarto 2, ed Daniel.
"WILT THOU BE GONE? IT IS NOT YET NEARE
DAY."
[After their one night together, as husband and wife.]
Enter Rosteo and IULIET a/off.
hdiet. \Vilt thou be gone? It i not )et neare day :
It x as the Nightingale, and not the I.arke,
That pierlt the ft-arefull hollow of flfine care ;
Nightly lhe lings on ) ond l'omgranct tree : 4
BAecue me, Loue, it was the Nightingale!
Romeo. It x,a the Larke, the Herauld of the \Iorue;
No Nightingale! Looke, Loue, %,hat enuious lireakes
I)o lace the fi:uering Cloudes iu )onder Eali ! 8
Nights Candles are burnt out, and Iocand Day
Stands tipto on the m)fiie Mountaine tops.
I muff be gone, and liue ; or liay, and die. I t
PERCY, 1785- Duet. Called ' The Garden Scene' in Romeo and uhe[.
J. REEKES, about I85O. Solo. J. Reekes, ' Six Songs from Shaksrmre.'

amin: ot ti e
Induction. Scene ii. lines 33--4-
"WILT THOU HAVE MUSICKE? ItARKE!
APOLLO PLAIES."
[The humourous Lord ho has taken he dnkard Sly to his
house, and told his men to treat Sly as a Lord, says to him :]
I ord. Wilt thou haue Muficke ? Harke  pollo plaies, [3Ick.
And twentie caged Nightingales do ring: 34
()r wilt thou fleepe  XVee'l haue thee to a Couch,
Sotier and f'eeter then the luflfull bed 36
)n purpol trim'd vp for Semiramis.
Say thou wilt walke ;  e  il befirow the ound :
Or wilt thou ride ? Thy horls lhall be trap'd,

4 TAMING OF" TttE SHREW. TEMPEST.
And fay lhe vttercth percing eloquence:
If lhe do bd me packe, IIe giue he dmnke,
A flmugh the bd me flay by her a weeke :
If the denie to wed, Ile craue the day
When I lhall atke the banes, and when be maied.
But heere lhe comes ; and now, Petruchio, leake 
nler KT..
Good morrow, hte  for dints your name, I heare.
Sg H. R. Bsaop, 8=. Slo. Composed for and sung by Mis M.
Tree in The Two Gntlemen  I erona.

c,npc t.
Act I. Scene ii. lines 198--2o6.
"NO\V I FL.\M'D AMAZEMENT."
Profpero [to AR EL]. ] l.tfl thou, Spirit, x93
Performd to point, xz Tetrzsx that I bad thee ?
Ariel. To euery Article!
I boorded the Kin fllip. Now on the Beake, 96
Now in the \Valte, the Decke, in euery Cabyn,
I flam'd amazement. Sometime I'ld diuide,
And burne in many places ; on the Top-maR,
The at ards, and Bore-fpritt, would I flame distinly ; aoo
Then meete, and ioyne. Ioues Lightning, the precurlers
O'th dreadfull Thunder-claps, more momentarie
And fight out-running, x ere not i the fire, and cracks
Of thlphurous roaring, the molt mighty Xeptune, a 4
Seeme to befiege, and make his bold waues tremble,
Yea, his dread Trident lhake.
JN. CHRISTOPHER SMITH, 1756.
p.2.

Recitative in Smith's 'Tempest,'

Temes6 Act I. Scene ii. lines 375--85.
"COME UNTO THESE YELLOW SANDS."
Enter FERDINAND ;  ARIEL, inuifiHe, plafing and finging.
Ariel. [Song.] Come vnto there yellou" fands,
and then take hands;
Curtfied when .7ou haue, and
the wilde u'aues whiff !
Foote it 'atl.9 heere and there,
and, Jiveete Sprights, l'eare the lurthen !

376
378
380

Caliban.

Freedome, high-day! high-day,
ti-eedome !

TEMPEST. 57

_No nore dams l'le make for dq.fl b
Nor fetch in dqring ,
At requiring, x 75
]Vor fcrape trenchering,
br u'aJh digh ! x77
.Ban', ban', Ca . . calyban,
Has a new Alajier. (_;el a new Alan ! x 79
freedome! freedome ! high-day,

JN. CHRISTOPHER SMITH, 756.
Caulfield's Collection.
J. ,V. HOBBS, 86L Song, Bass.
J. F. DUGG.,_, 87o.

Solo, Bass. Smith's ' Tempest.'
Called ' Caliban.'
Tenor or Bass Song. Called 'Caliban.'

Twest, Act III. Scene ii. lines IlS, 19.

"FLOUT 'EM, AND COUT 'EM."

Caliban [to STevn.so]. Thou mak'fl me merry ! I am full ot
plcafure !
Let vs be iocond ! a, Vill you troule the Catch x 4
You taught me but whileare ?
Stephano. At thy requefl, Monfler, I will do reafon; any reafon.
 Come on, Trinculo ! let vs ring ! x  7
Sings.
Flout'era, and cout'em ! and skou't'em, and flout'em !
Thought is free.
HER PURCELL, 675. Round for three. Caulfield's Collection.

Temtest , Act IV. Scene i. lines 44-8.

"BEFORE YOU CAN SAY, 'COME, AND GOE'."

[Ferdinand and Miranda are to witness a Masque of Prospero's
Spirits.]
Profpero [to Aae-] .... Goe bring the rabble
(Ore whom I glue thee powre) here, to this place!
Incite them to quicke motion, for I muff
Beflov vpon the eyes of this yong couple  40
Some vanity of mine Art : it is nay promife,
And they expec"t it from me.

Ferdinand and Miranda.

WINTER'S TALE. 73

Act IV. Scene iv. lines 217--229.

"LA\VNE, AS WHITE AS DRIVEN SNO\V."

[The Old Shepherd's Servant describes to him and his Clowne-
son, to his supposed daughter Perdita, and their guests at their Sheep-
shearing, the goods and the singing of Autolycus, disguised as a
Pedler :]

Servant. Hee hath Ribbons of all the colours i'th Rainebow; [2o 5
Points, more theu all the Lawyers in Bohemia can learnedly
handle, though they come to him by th'grofti ; Inckles,
Cambrickes, Lawnes: why, lie tings em ouer, as they were Gods,
or Goddeftes! you would thinke a Smocke were a lhee-Angell, lie
fo chauntes to the lleeue-hand, and the xorke about the fquare
on't. 2IO
Clowne. Pre'thee bring him in ! and let him approach tinging.
Perdita. Forcwrne him, that he li no fcurrilous words in's
tunes! [Eit Servant. 3
Clowne. You haue of there Pedlers, that haue more in them then
youl'd thinke (Sifter !)
Perdita. I, good brother, or go aboute to thinke.

Enter AtJTOLICUS finging.
Lau'ne, as white as driaen
Clpre.ffb, l'lacke as ere was Crow ;
Gloues, as ficeete as Damqlke Rs ;
&lhes for.faces, and fi, r
Bugle-l'racelet, Xcke-lace tml'er,
t'ezme.lr a Ladies Chaml'er ;
Golden Quofes and Slomachers,
For m.y Lads to giue their deers; 22 4
Pis, and poakbg-flices qf fleele
lFhat MaMs &cke, from head to heele : 226
Come full &me, come
Buy, LMs I or eb your LqOs cT :
Come, l'uy
DR. WILSON, 66o. Solo.
Anonwnous. Solo. Caulfield's Collection.
DR. ENJAMIN COOKE, I780 (?). Glee.
E. S. BIGGS, 8oo(?). Solo, Tenor. 'Here's lawn as white.'
THOS. HUTCHINSON, I807. Song. ' Val Collection' of Mr. Hutchinson.
VILLIAM LINLEY, I816. Song Tenor. Linley's 'Dramatic Songs
Shakspere.'
CARL NESTOR. Song. Baritone.

 lacles, tapes.  Cadd)'sses, worsted lace.
 To stiffen the curls of their Ruffs on.

SON.V.TS, 33, 40. 79

F 11 many a glorious morning haue I feene,
Flatter the mountaine tops with foueraine eie,
Killing with golden face the meddowes greene,
Guilding pale flreames with heauenly alcumy  4
Anon permit the bafefl cloudes to ride,
\Vith ougly rack, on his celeftiall face,
And from the f6r-lorne world his viihge hide,
Stealing vnfeene to welt with this dilrace : 8
Euen fi nay Sunne one early morne did lhine,
Witla all triumlhant fplendor on nay brov,- ;
But, out, alack ! he was but one houre mine ;
The region cloude hath maIk'd him from me now ! I
Yet, him for this, nay loue no whit difdaineth :
Suns of the world may flaine, when heauens fun llaineth.
J. REEKES, about i85o. Solo. 'Six Shakspere Songs.' Eight lines:
-4, 9-2. Two octaves, lower to upper C.
SIR H. l$I.HOP, I82O. Soprano Song. :Sungby Miss M. Tree. Opera,
Twelftl

4O- "TAKE ALL lXIY" LOVES, lXIY LOVE! YEA,
TAKE THEM ALL!"
[Shakspere says he is willing to give up his dark Lady-love (? Mrs.
Fytton l) to his young Friend. "William Herbert, later, Earl of Pem-
broke. Vqaatever she does, the Poet and Earl must not quarrel.]
Take all nay hines, nay I,oue ! yea, take them all !
\Vhat hal thou then more then thou hadlt before ?
No lone, nay Lone, that thou maifl ' true lone' call :
All mine  as thine, before thou hadfl tiffs more : 4
Then, if for nay loue, thou nay Loue receiuefl,
I cannot blame thee,.for nay lone thou vfel;
But yet be blare'd, if thou tiffs felfe deceauelt
By wilfull tafle of what thy ilfe rcfufefl. 8
I doe forgiue thy robb'rie, gentle Theefe,
Although thou fleale thee all my pouefly ;
And yet, loue knowes, it is a greater griefe
To beare loues wrong, then hates knowne iniury. I 2
Lafciuious Grace, in whom all il, wel ihowes,
Kill me with fpights ! yet we mull not be foes. 14
SIR HENRY BISHOP, I82O. Solo, Soprano. Sung by Miss Greene in
CHARI.ES ttORN, 82L Solo, Tenor or Bass. Sung by him in the
TemibesL

 See Mr. T. Tyler's letters in the Mcadcmy of March 8, March 22,
and April 9, 884- Mrs. Fytton was Lord Pembroke's 'cause', and
had a child by him.

64. "XVHEN I IIAVE SEENE TIIE HUNGRY
OCEAN."
[Looking at the destruction wrought by Time, Shakpere sees
that it x ill some day take his young Friend li'om him.]
When I haue feene, by Times fell hand defaced
The rich prond colt of ontworne buried age;
When fometilne lot'tie tos ors, I lk.e downe rail:d,
And bratl;e, eternall llaue to mortall rage i 4
When I haue feene the hungry I )cean gaine
Aduantage on the Kingdolne of the lhoare,
And the firme foile s in of the s atrv maine,
Increaling flore s ith lotlb, and lo[lb with ltore ; 8
When I haue lbene fuch interchange of ltate,
()r ltate it l'lIe confimnded, to decay,
lluine hath taught me thu to rulninate :
lhat Time  ill come, and take n,y hme awar.  
This thought is as a death x hich cannot choofe,
But xseepe to bane, that xs hieh it feares to loolb.
SIR HENRY BISHOP, 82I.
Gentlemen oJ l'oona.
ocean," line .

14
Solo. Sung by .Master Longhurst in Two
Colnmences" \Vhen I have seen the hungry

7. "NOE LONGER MOURNE."
[Shakspere beg, s his Friend not to mourn for him when he dies,
and not even to love his memory, let tile \Vorld hould mock his
friend for so doing.]
Noe Longer mourne for me when I am dead!
Then you lhall heare the lhrly fullen bell
Glue warning to the x, orld, that I am fled
From this  tie world,  ith vildelt wormes to dwell : 4
Nay, if you read this line, remember not,
"i'he hand that xs tit it ! for I loue you
That I ill S our fweet thoughts would be forgot,
If think'ing on lile then lhould lnake you woe. 8
O ! if (I fay) you looke vpon this verfe,
\Vhen I (perhaps) compounded IITI .. ith clay,
Do not fo much as my poore name reherfe ;
But let )our loue, euen x ith my life decay,
Leafi the wife world fhould looke into your mone,
And mocke you xith me, after I am gon. x4
*RICHARD SIMPSON, I878. Solo. Lucas ancl Weber, .New Bond St.

THE PASSIONATE PILGRIM.

95

SIGNOR GIORDANI, 1782. Duet : S.S. or T.T.
R. J. S. STEVENS, 179 o. Glee for four male voices, A.T.T.B.
SIR HENRY R. BISHOP, I82O. Song. Sung by Mss Greene in Opera
of Twelfth 'icrllt.
SIR HENRY R. BISHOP, 1824. Dramatic Trio, S.C.B. In As l'ou
Like It.
EARL OF WESTMORELAND, I833. Solo.
'vMRS. MOUNSEY BARTHOLOMEW, February 6, I882. Song, Soprano or
Tenor. 'Six Songs.' No. I. Lucas and Weber.

]gassionale PilArim. No. 13.
13. "BEAUTY IS BUT A VAINE AND
DOUBTFULL GOOD."
XIII.
(i)
Beauty is but a vaine and doubtfull good ;
A fhining gloflb, that vadcth lbdainly 
A flower that dies, x hen firlt it gins to bud,
A brittle glaflb, that's broken prelntly. 4
A doubtfull good, a glolfi., a glafle, a flower,
Lott, vaded, broken, dead ithin an houre. 6
()
And, as goods loll, are fcld or neuer found ; 7
As vaded glollb, no rubbing will refrelh 
As flowers dead, lie withered on the ground ;
As broken glait, 11o l)'mant can redreifi. ; o
So, beauty blemifllt once, for euer's  loft,
In fpite of phificke, painting, paine and coil.
"SIR HENRY R. BISHOP, 1819. Solo, Bass. 'Beauty's Valuation.'
Sung by Mr. Durusett in Shakspeare's Comedy of ,rrors, at the
Theatre Royal, Covent Garden.

lassionate Pilgrim. No. 14.
X4. "GOOD NIGItT, GOOD REST."
XIV.
(I)
' Good night, good reil' ! Ah ! neither be my thare
She bad good night : that kept my reli aay,
And daft me to a cabben hangde with care,
To delkant on the doubts of my decay.
' Farewell (quotll lhe) and come agalne to morrow
Fare well I could not, for I lhpt u ith lbrrox;.

4
6

1 euer. Qo. i.

LIST OF

ALL TIlE SONGS AND PASSAGES
IN SIIAISPERE

V'IIICH HAVE BEEN SET TO MUSIC.

A LIST OF

ALL THE
IN

SONGS & PASSAGES
SHAKSPERE

WHICH HAVE BEEN SET TO MUSIC.

COMPILED
J. GREENHILL, THE REV. W. A. HARRISON,
AND F. J. FURNIVALL.

THE WORDS IN OLD SPELLING, FROM THE QUARTOS
AND FIRST FOLIO,
EDITED BY
F. J. FURNIVALL AXD W. G. STONE.

EI'SED EDITIO.V.

PUBLISHT FOR
BY N. TRBNER & CO., 57, 59, LUDGATE HILL,
LONDON, i88+

CYMBELINl. HAMLET. I I

Golden Lads and Girles all mud7 ,
As Chimney-Sweepers, come to duff. 263
Aruiragus. Feare no more the frowne o'th'Great ! 264
Thou art pad7 the Tirants JTroake.
Care no more to cloath and eate !
To thee, the Reede is as the Oake : 267
The Scepter, Learning, Phtficke , muff
All.follow this, and come to dudT. 269
Guiderius. Feare no more the Lightningflqfh, 270
Aruiragus. Nor th'all-dreaded Thunderdlone !
Guiderius. Feare not Slander, Cenfure rqlh ;
Aruiragus. Thou hafldniJh'd hy and .lIone ! 273
Both. All Louers .loung, all Louers mu.fl
Confflgne to thee, and come to duff. 275
Guiderius. No Exorcijbr harme thee !
Aruiragus. Nor no witch-crql't charme thee ! 2 7 7
Guiderius. Ghojt vnlaid forl'eare thee !
Aruiragus. Nothing ill come neere thee ! 279
Both. Quiet confumation haue ;
And renou.nd l'e thy graue ! 28
DR. T. A. ARNE, (?ab. I74o). Solo. Sung by Mr. Lowe.
Name unknown. ? 746. See Gcnete, vol. iv. p. 93. Solo. In G
major. Caulfield's Collection.
DR. BOVCE, I758. (? Solo, or Glee. See Warren's Life of Boyce.')
Called 'The Dirge in Cymbeline.'
*'DR. NARS, d. 783. Glee for A.T.B. Warren's Collection of Glees,
&c.' Vol. II. and Cramer.
DR. IN'ARES, d. 783, and W. LNLEV, I816. Trio for equal voices.
G. A. MaCFARREN, 864. S.A.T.B. Choral Songs, No. 6. Novello.
F. M. Hnvws, 88.  The Dirge of Fidele.'
JAMES GREENHILL, 884. Part Song, S.C.T.B. In Iemoriam Miss
Tnn ROCH'OT SXtTH, died Sept. 4, 883-

rince of
Act II. Sc. ii. 11. I6-- 9. (Qo. 2, sig. E4-)
"DOUBT THOU THE STARRES ARE FIRE."
[Hamlet's Letter to Ophelia.]
Letter.
Doubt thou the Starres aredre ; I16
JDoul't that the Sunne doth rnoue ;
Doul't Truth to l'e a lyer ;
But neuer doubt I loue !  9
W. TINDAL, 786. Op. 5. Solo Tenor. With an accompaniment
for Flute, Violin, and Violoncello. ' Eight Ancient Ballads,' No. 8.
(A 2nd verse added, not by Shakspere.)

I4

HAMLET, PRINCE OF DENMARK.

#Old Melody. "The tune entitled JIerr 2rilkmaids in ' The Dancing
Master,' 165o." (Chappell, p. 237. )
[Caulfield, Linley, C. Knight, G. Nicks. Chappell's Thirteen Songs.']
SIR JN. A. STEVENSON, 18OO (?). Glee, S.S.B.

Hamlet, IV. v. 48--55, 58--65. Song.
"TO-MORROW IS S. VALENTINE'S
To morrow is S. Valentines da?/,
All in the morning betime ;
And I a ma?/de, at 9our window,
To be ?/our l'alentine.
Then vp he role, and dond his clofe,
and dupt the chamber doore ;
Let in the maide, that out a rnaide,
neuer departed more.
By Gis, l and b?/ Saint Charitie,
alack, and dfie, for Jh ame !
Young men will duo 't, if they come too "t
b.q Cock, 2 the?/are to blame !
Cluoth she,' Before ?/ou tumbled me,
?/ou promifd me to wed."
(He anfwers.) ' So would I a done, b?/ yonder funne,
And thou hadfl not come to m?/ bed."
Old air in Chappell's ' Popular .Music,' p. 2-'7.
Old Melody. 'Quaker's Opera,'
Cobbler's Opera, 7z 9. (See Chappell, p. -'27.)
[Repeated in Linley, Caulfield, C. Knight, G. Nicks.
' Thirteen Songs.']

55
5 8

6i

65

Chappell's

Hamle4 Act V. Scene i. lines 69--7", , 79--82, Io-'--.
STANZAS FOR GRAVE-DIGGER.
Song.
Clowne. In Youth, when I did loue, did loue,
Me thought it u'as very.fu'eet,
To c6ntract, , the time ; for, 4 ! m?/ l'ehoue,
0, me thought, there was nothing a meet.
But Age, with his.flealing.fieppes,
hath clawed me in his clutch,
And hath ffhipped me it, to the land,
as if I had neuer been fuch.
 Gh is a contraction for eu. "- God.

(Qo. 2, sign. M. 2.)

82

LOVE'S LABOUR'S LOST.

2I

Spied a lqlome pajng faire,
Playing in the wanton aire :
ThTough the I1eluet ieaues, the wind,
All vnfeene, can pa.lThge.finde ;  o4
That the Louer,ficke to death,
lt'ffh himfelfe the heauens l'reath.
"M j/re,' (quoth he), " thy cheekes may ['low ;
Ayre, u'ouM l might t,iumph Jb
But, alacke, my hand is fu'orne,
&re to plucke thee from thy thorne : I
Vow, alacke, for youth vnmeete,
Youth fo apt to pluck a veete
Do not call it finne in me,
That 1 am forfu'orne for thee; x 4
Thou,for whom Ioue would Jb'eare,
Iuno l'ut an thiop were;  6
And denie himjbe Jbr Ioue,
Turning mortall for thy loue.' "  x8
THOtAS CmLCOT, 750. Solo.
I)R. T. A. ARNE (?ab. 75o). Solo. Caulfield's Collection.
Jy. CRSTOHER StlTH, 175- Solo, Contralto. In "The Fairies."
WILLIAM JACKSON. Three male voices.
T. LYON, about 79 o. Four voices. 'Six Canzonets' 0795 ?)-
M. P. KiG. Duet, Tenor and Bass, or Soprano and Bass. Commences,
" Do not call it sin in me."
JON BRAAZt. (See Roffe, p. 36.)
SIR HENRY BISHOP, 82L Duet, S.C. Sung by Misses M. Tree and
Hallande, in Two Gent. of P?rona. 'Shakspere Vocal Album'
(864), p. 76.
W. P. STEVENS, 8. Glee for four male voices.
*T. D. SULLIVAN, 864. Quartette for Treble voices.
*ELLA, 870. Song.
W. H. CUItlXGS, 187. Part Song, S.A.T.B. Ashdovn and Parry.
*C. H. HUBERT I'ARRT, about 874. Song. 'A Garland,' No. L Boosey.
KELLOW J. PTE, 879. ' To be sung in G, by a Tenor Voice.' (XVith
"Good Night Good RestS" in 'Two little Songs,' from the
Passionate Pilim. )

Love's Labours Lost, Act IV. Scene iii. lines 38--2 9.
"A LOVER'S EYES WILL GAZE AN EAGLE
BLINDE."
[Part of Bero ne's speech, to prove to his Companions the wisdom
of breaking their vow to forswear the company of Women for three
)'ears.]
24 Louers eyes will gaze an Eagle l'linde ;
4 Louers eare will heare the lowe.]T found,
IVhen the fufpitious head of theft is fiopt. 32o

22

LOVE'S LABOUR'S LOST.

Then are the tender hornes of Cockled Snayles.
Loues tongue, proues daintie Bachus grodTb in tqfle.
For 'aloure, is not Loue a Hercules, 3-'4
Still clgming trees in the Hefperides ?
Subtil as Sphinx; as fu,eete and mu.ficall
As bright Appolos Lute,.firung with his haire.
And when Loue fpeakes, the voyce of all the Goddes
Make heauen drouffle with the harmonic.
DR. KE.xtP, 184. Solo with Violoncello accompaniment. Dr. Kemp's
' Illustrations of Shakspere.'
JOHN PARRY, 1824. Song. Sung by Mr. Braham in the )IIerry Wiz,es
of If'indsor.

Love's Labours Lost, Act V. Scene ii. lines 877--912.
"\VHEN DASIES PIED, AND VIOLETS BLEW."
[Sung after the show of the ' Nine \Vorthies ' had been presented
before the King and the Princess.]
Re-enter all.
Braggart (AIaDO). This fide is Hiems, Winter; This, Vet, the
Spring : The one maynteined by the Owle, th'other by the Cuckow.
 Fer, begin !
The Song.
Spring.
lUhen Dafies pied, and I/-tolets blew, 877
And Ladi-fmockes alliluer white,
./lnd Cuckou'-budds of 3ellou' hew,
Do paint the Meadowes with delight, 880
The Cuckou. then, on euerie tree,
2docks married men ; for thusinges bee :
Cuckow
Cuckow, Cuckow ! 0 word offeare,
Vnpleafflng to a married eare ! 885
lChen Shepheards pipe on Oten Strau'es, 886
Mnd metric Larkes are Ploughmens Clocks,
IVhen Turtles tread, and Rookes, and Dawes,
And .llaidens leach their fummer fmockes, 889
The Cuckow then, on euerie tree,
)llockes married men ; for thus.tinges bee : 89
Cuckow!
 Cuckow, cuckoxv ! 0 word offeare,
Fnpleqfing to a married eare ! 894
RtCHARD LEVERIDGE, 1725 ?, I727. Solo. On a sheet in a vol. in
Brit. Mus. Lib. G a ; with the title The Cuckoo.'

MIDSUMMER NIGHT'S DREAM. 43
juice--i also in love. Lysander challenges Demetrius to fight for
ttelena. Oberon bids Puck ' overcast the night,' and lead the ria]
apart and astray, and tire them out till they thl] asleep. He'll Ihen
cure Lysander, and give him back to Hermia. Puck answers :]
Puck. My Faiery Lord, this muft be done with hatte,
For Nights f ift Dragons cut the clouds full faft, 379
And yonder lhines Auroras harbinger ;
At whole approach, Gbols, wandring here and there, 38
Troope home to Churchyards: damn6d fpirits all,
That in crotYe-waies and floods haue buriall, 38]
Already to their wormy beds are gone;
For feare leaft day thould looke their thames vpon, 385
They wilfully Ihemlblnes exile from light,
And muff for aye conlbrt with black-browed night. 387
T. COOKE, 840. Solo, Soprano. Sung by bliss Rainforth as tst Fairy
in the Ali, tsummer A't' hf s ]_),'earn.

I. A: 1)ream, III. ii. 396--9-
"UP AND DOWN, UP AND DO\VN."
[Puck assures Oberon that he'll midead, and tire out, the angry
rtval for Helena's Love, Lysander (when under the charm) and
Demetrius :]
Puck. Vp & dm n, vp & down, 396
I  ill lead them vp & do n!
I am feard in field & to n !
Goblin, lead them p & downe! 399
CHRISTOPHER SMITH 754- Solo. In the ' Fairies.'
Dg. C. I3Ug.xEV, x762. Solo.
f. COOK:, 84o. Solo, Sol:rano. Sung by Madame Vestris as "Oberon,'
compass from F to loer C.

AL A: Dream, V. i.
"A TEDIOUS t3RIEFE SCENE OF YOUNG
PYRAMUS AND HIS LOVE THISBE;"
VERY TRAGICAL MIRTH.

Re-enter BTTOM as PYRAMUS.
7"hefeus. Ppramus drawes neare the wall : filence! I;7
P.ramn,. 0 grim-lookt n.ht ! o night, with hue fo blacke !
0 night, which euer art, when dalai is not !
0 night, 0 nht ! alacke, ahtcke, alacke !
IJkare mq Thifbyes promife is forgot !  7 x

44

IIIDSUM.MER IIGHTS DREAM.

[TO SNOUT 03 Wall.] And thou,  wall, d fweete,  louely wall,
That flandjt l.etu.eene her fathers ground and mine !
Thou wall,  wall, O fu'eete and loudy wall !
Showe mee thy chinke, to blink through with mine eyne !
[Sxovx holds up his hand, with his fingers thus
Thankes, curteous wall ! Ioue tield thee well, for this !
But rhat fee 1.9 No Thitby doe I fee.
0 wicked wall, through u'home I fee no l'liffb !
Cur.fl be thy dTones, for thus deceiuing mee ! x79
Re-enter Ft.vr as
Thiy. JIy loue ! thou art my loue, I thinke.
Pyramus. Thinke what thou wilt, I am thy louers Grace; 93
,4rid, like Limander, am I trt(fi!! flill.
Thifl'y. And L like IIelen, till the Fates me kill.
P.ramus. Not Shafalus, to Procrus u'as fo true.
Thifl'y. ls Shafalus to Procru% I to you.
P.qramus. O, kib mee through the hole o.[ this vHde wall !
Tidily. I ki[]'e the u'alles hole ; not .your lips at all ! 99
Pyramus. ll'ilt thou, at Ninnies tombe, meete me flraight way
Th3dby. Tide life, t.yde death, I come without delay !
Enter
Pyramus. Su'eete ]lIoone, I thanke thee for thy funny l'eams !
I thanke thee, Moone, for.lhining nowJb bright;
For by thy gratious, golden, glittering beames,
I trufl to take, od[ trued7 Thilby,.fight.
[Sees her bloody Mantle.
But flay: g fpight !
But marke, poore knight,
If'hat dreaddl dole is here I
Eyes, do you fee .9
llow can it bee .9
0 dainty duck ! o deare/
Thy mantle good,--
ll'hat ! flaind with blood .9
4pproach, ye Furies fell,
0 Fates come, come !
Cut thread and thrumme !
Quaile, cru.lh, conclude, and quell! 78
Duke. This paflion, & the death of a deare friend, would goe
neere to make a man looke fad.
Hyppolita. Bethrewe my heart, but I pitty the man.
Pyramus. O, where.fore, Xature, did.It thou Lyons J?ame .9
Since Lyon vilde hath here deflour'd my deare,
lVhich is--no, no !--which was, the fairefl dame
7"hat liu'd, that lou'd, that lik't, that look't with cheere. 2S 5

TAMING OF THE SHREW. TEMPEST. 5'
Signior Petruchio, will you go with vs,
Or thall I fend my daughter Kate to you ? 164
Petruchio. I pray you do t. [.Exit. )Ianet PETnLrCHIO.
I vill attend her heere,
And woo her with forne fpirit when the comes.
Say, that fhe raile  why, then Ile tell her plaine,
She tings as l\veetly as a Nighlinghale : I68
Say, that the frowne i IIe fay lhe lookes as cleere
As morning Roles newly waflit with de,v:
Say, the be mute, and will not fpeake a word ;
Then Ile commend her volubility,  '2
And fay tim vttereth pierciug eloquence:
If lhe do bid me packe, Ile glue her thankes,
As though lhe bid me flay by her a weeke :
If file denie to xved, Ile craue the day t '6
\Vhen I lhall aike the banes, and  lien be married.
But heere the comes ; and now, Petruchio, leake!
Enter KATEItlNA.
Good morrow, Ix'ate ! for thats your name, I heare.
SIR H. R. BISHOP, 1821. Solo. Composed for and sung by Miss M.
Tree in Tite Two Gentlemen of Verona.

cmpc t.
Act I. Scene ii. lines 98--2o6.
"NOW I FLAM'D AMAZEMENT."
Profpero [-to _A_t.]. Hft thou, Spirit, x93
Performd to point, w Ttsw that I bad thee ?
Ariel. To eue Article
I boorded the Kin thip. Now on the Beake, 9 6
Now in the XVate, the Decke, in euery Cab)n,
I flam'd amazement. Sometime I'ld diuide,
And burne in many places ; on the Top-maff,
The Yards, and Bore-fpritt, would I flame di/inly  oo
Then meete, and ioyne. Ioues Lightning, the precurfers
O'th dreadfull Thunder-claps, more momentarie
And fight out-running, were not; the fire, and cracks
Of lhlphurous roaring, the moff mighty ptune, o 4
Seeme to befiege, and make his bold ,aues tremble,
Yea, his dread Trident flake.
JN. CHRISTOPHER SMITH, I756.
p. I2.

Recitative in Smith's 'Tempest,'

58 TEMPEST.

Te1#est, Act I. Scene ii. lines 375--85.
"COME UNTO THESE YELLOW SANDS."
Enter FERDIN'AND ; ' ARIEL, inuijl'le, plajling and,tinging.
lriel. [Song.] Come vnto there ?/ellou, fands,
and then take hands; 376
Cured u'hen Jtou haue, and kilt
the wilde u'aues whiff ! 378
Foote it featl. heere and there,
and, fweete Sprights, beare the burthen ! 380
[Burthen, difperfedly.] Harke, harke ! l'ouh u'au'gh !
The u'atch-Dogges barke, l'ou'gh u'auh . 382
Ariel. Hark, hark, I heave,
the firaine of firutting Chanticlere
cry, ' Cockadidle-dowe !" 385
JOHN BAXlSTER, 1667. Solo. Plavford's Select Ayres, &c.'
HE'qRY PURCELL, 1673. Soprano 3olo and Chorus, S.A.T.B.
Jy. CHmSTOIHER SMn'H, 1756. Solo. Smith's 'Tempest.'
SR JOH STZVESSON, 798 (?). Glee for S.S.B. 4-hand Piano
accomp,,niment.
-SIR ARrl-iUR . SULLIVAN, 862. Solo, S., and Chorus, S..T.B.
RICHARD SIMPSON, 1878. Solo, MS. Lucas and Weber.

TenSest, Act I. Scene ii. lines 395--402.
"FULL FADOM FIVE THY FATHER LIES."
[Ariel's song tells Prince Ferdinand that his I:athr is drown&
(He is, in fact, alive and ell.)]
Ariell. [Song.] FullJ'adom.fiue th. Father lies : 395
Of his kone. are Corrall made :
Thole are pearles that were his des,
Nothing of him that doth fade, 39 8
But doth fqLt'er a Sea-change
lnto fmething rich C firange : 4o0
Sea-3"imphs hourljt ing kis knell :
[Burthen :] ding dong !
Harke ! now I heare them : ding-dong, l'ell ! 4o2
IOBERT JOHXSON. Shakspere's time. Harmonized for three voices by
Dr. Wilson. 'Cheerful Ayres or Ballads,' by Dr.
JOHN BANISTER, 1667. Song, Soprano. Playford's ' Select Ayres, &c.'
Arranged (C. or B.) ith Chorus, S.A.T.B., by Edw. J. Loder.
Lonsdale.
HENRY PURCELL, 673. Soprano Solo and Chorus, S.A.T.B.
JN. CHRISTOPHER SXlITH, I756. Solo: Contralto or Bass.
"vSIR ARTHUR SULLIVAN, I862. Solo, S., and Chorus, S.A.T.B. Novello.
"vC. H. HUBERT PARRY, I874. Song, Contralto, C to E:L A Garland,'
&c., No. 5- Sung by Miss Antoinette Sterling. Boosey. Called
"A Sea Dirge."

TWELFTH NIGHT. 65
where he anfwers againe ;
" tecaufe thou can.fl not eafe thl finart
ty friendyhip, nor l'y jpeaking ' . ,S
There was neuer a truer rime! Let vs carl axvay nothing, for we
may liue to haue nde of ]hch a Verfe! We le it, we te it!
How no,v, Lambs ? 2
M. P. KING, 181o (?).
SR It. R. BSOP, 8o. Duet for Two Sopranos.

Act I. Scene i. lines --15.
"IF MUSICKE BE THE FOOD OF LOVE,
PLAY ON !"
The Dukes Palace.
Enter Os:o, Duke of Illyria, Cvx1o, and other Lords Musicians
attending.
Duke.
F Muficke be the food of I.oue, play on ! I
Giue me excellb of it, that, lbrlbtliig,
The appetite may ficken, and lb d)e.
That liraine agen ! it had a dying fall : 4
O, it came ore my eare, like the fweet tbund
That breathes vpon a banke of Violets,
Stealing, and gluing, Odour !--Enough ; no morel
']'is not fo l\veet now, as it was belbre. 8
O fpirit of Loue, how quicke and frefll art thou,
That, notwithfianding thy capacitie
Receiueth as the Sea: nought enters there,
Of what validity, and pitch tb ere, I 
But falles into abatement, and loxv price,
Euen in a minute ! fo full of thapes is Fancie,
That it alone is high fantaflicall.
JAIIES CLIFTON, 1781. Solo. Reproduced in ' Shakspere Vocal Album,'
1864.
SIR JOHN STEVENSON. Air, Contralto or Bass. Commences 'That
strain again,' 1. 4- In a set of eight Songs and four Duets.
SIR J. STEVENSON and T. COOKE I828. Quartet. Opera, Taminffof
the .5"]trezu.
A. IATTHEY, 1847. Canzonet.
CHARLES HORSLEY. Solo. Chappell, New Bond Street.
GEORGE BENSON, 1861. Glee.
%W. C. SALLI 863. Canzonet.

0 SONNETS [8, -"5"

So thou, thy felfe out-going in thy noon,
Vnlok'd-on diett, vnlett thou get a fonne. 4
SIR HENRY BISHOP, 1825 Glee and Chorus, 1. 1-8 in qs You Like It.
"IRICHARD SIMPSON, I878. Solo. Lucas and "Weber, -New Bond St.

I8. "SHALL I CO3IPARE THEE TO A
SUMMERS DAY?"
[Shakspere assures his friend \Vil]iam Herbert of eternal life
through lns (Sh.'s) Sonnets to him. See nos. 54, 63, and 8I below.]
Shall I compare thee to a Summers day ?
Thou art more louely and more temperate :
Rough x indes do ihake the darling buds of 3Iaie,
.And Sommers leal hath all too lhort a date: 4
Sometime, too hot the eye of heauen flfines,
Arid often is his gold complexion dimm'd;
And euery faire, from faire lbme-time declines,
By chance, or natures changing courfe, vntrim'd ; 8
But thy eternall Sommer fhall not fade,
Nor loofe poffltion of that faire thou ow'fl ;
Nor lhall Death brag thou x andr'fl inhis lhade,
\Vhen, in eternall lines, to time thou grow'It : lZ
So long as men can breath, or eyes can fee,
So long liues this, and this glues life to flee, x4
CHARLES HORN', I82I. Duet, S.C. It was sung in the T'mesL
E. J. LODER, 184I. Duet, S.S. No. 3 of ' Six new vocal Duets.'--Pmt
of a work called The .llelohon.
J. REEKES, about 185o. The three first and ninth lines have been used.
' Six Sha!;spere Songs.'
"t:ROBERT HOAR, 1876. Song. Hutchins and Romer, 9 Conduit St.
"Z'LADY RAMSEY OF BANFF'. Czerny, 2I I Oxford St.

Sonnet 2 5 . Lines I-- 4.
[Shakpere contrasts his lowly state ith that of Fortune's
favourites. Yet they may lel her fickle change, x hi:e he is sure of
his Friend's constant Loe.]
Let tholi who are in fauour xith their ftar,
Of publike honour and proud titles boil,
\Vhilft I, wbome Fortune of lhch tryumph bars,
Vnlookt for, toy in that I honour moll 4
Great Princes fauorites, their faire leaues fpread
But as the Marygold at the funs eye,
And in them-felue their pride lies buri//d,
For, at a fro he, the)- in their glory die. g

SONNETS 2, 2 9.

8I

The painefull warrier, famofid for worth,
After a thoufand vi&ories once foild,
Is from the Booke of Honour raf/d quite,
And all the reft forgot, for which he toil&

12

Then happy I, that lone, and am beloued
\Vhere I lnay not remoue, laor be remoued !

14

SIR HENRY R. BISHOP, I82I. In his operatised 7"wo Genllemen of
Verona, he has introduced the first 4 lines as a sequel to the Chorus
from As you like it ' Good Duke, receive thy Daughter', which is
preceded by the first 4 lines of Sonnct 97. He makes Julia and
Sylvia sing a duet, Julia singing Sonnet 25, and Sylvia, Sonnet 97,
the first 4 lines of each--both at the same time.

2 7. "WEARY WITII TOYLE."
[Shakspere, away from his young friend, cannot sleep on his
weary bed, for thinking of him.]
\Veary with toyle, I haft me to nay bed,
(The deare repoli for liras with trauaill tired,)
But then begins a iouruy in my head,
To worke nay mind, when boddies work's expired: 4
For then my thoughts (li'om far where I abide)
Intend a zelous pilgrimage to thee,
Aud keepe nay droopiug eye-lids open wide,
Looking on darknes which the blind doe fee : 8
Saue that my foules imaginary fight
Prefents their thaddoe to my lightles x Jew,
\Vhich, (like a iewell hunge in gaflly night),
Makes blacke night beautious, and her old face new.  2
Loe! thus, by day my liras, by night my mind,
For thee, and tor nay felfe, hoe quiet finde.

#RICHARD SIMPSON, I878.

4
Solo. Lucas and Weber, New Bond St.

29. "WHEN IN DISGRACE WITH FORTUNE
AND glENS EYES."
[Shakspere, when forlorn and sad, has but to think of his Friend,
and then is lifted into bliss.]
\Vhen, in difgrace with Fortuue and mens eyes,
I all alone beweepe my out-caff flare,
And trouble deafe heauen with my bootlelt'e cries,
And looke vpon nay felt, and curfe my fate,

4

SONNETS, 64, 7. 87
64. "VHEN I HAVE SEENE THE HUNGRY
OCEAN."
['Looking at the destruction wrought by Time, Shakpere sees
that it will some day take his young Friend from him.]
When I haue feene, by Times fell hand defaced
The rich proud colt of ontworne buried age;
When fometi,ne lolie towers, I fee don ne rafed,
And bral|.', eternall ilaue to mortall rage ; 4
When I haue feene the hungry Ocean gaine
Aduantage on the Kingdo,ne of le lhoare,
And the firme ILile u in of the watry nwine,
Increafing flore x ith lolti:, and 1olt with fiore ; 8
VVhen I haue lbene fuch interchange of flate,
Or flare it li:lti conlbunded, to decay,
Ruine hath taught me thus to ruminate:
That Time will come, and take my loue away. x 2
This thought is as a death which cannot choofe,
But xveepe to haue, tlmt which it feares to 1oo1. 4
SIR HENRY BISHOP, I821. Solo. Sung by Master Longhurst in Two
Genllemet oa[ Voona. Begins, "When I have seen the hungry
ocean," hne .

7I. "NOE LONGER MOURNE."
[Shakspere begs his Friend not to mourn for him when he dies,
and not even o love his menmry, lest the \Vorld should mock his
friend for so doing.]
Noe Longer mourne for me when I am dead !
Then you thall heare the furly fidlen bell
Glue warning to the world, that I am fled
From this vile world, wih vildeft wormes to dwell: 4
Nay, if you read this line, remember not,
The hand that writ it ! for I loue you fo,
That I in your fweet thoughts would be forgot,
If thinking on me then lhould make you woe. 8
O ! if (I fay) you looke vpon this verfe,
When I (perhaps) compounded am with clay,
Do not fo much as my poore name reherli ;
But let your loue, euen with nay life decay,  
Leafl the wife world fhould looke into your mone,
And mocke you with me, after I am gon. 4
*E. J. LODER, 84 r. Duet for two Sopranos. No. 5 of ' Six nev vocal
duets.' Part of 7"he Alelophmt.
I.ICHARD SIMPSON 1878. Solo. Lucas and Weber, New Bond St.

SOXXETS, 87, 9-'- 89
87. "FAREWELL! THOU ART TOO DE_A_RE
FOR IIY POSSESSING."
[Shakspere, thinking his Friend (Lord \V. Herbert) has withdrawn
his ti'iendship from him, acquiesces in the fact.]
Farewell ! thou art too deare for my poffefling !
And, like enough, thou knowft thy eftimate :
The Charter of thy worth glues thee relealing 
gIy bonds in thee are all determinate. 4
For how do I hold thee, but by thy granting ?
And for that ritches, where is that deferuing ?
The caulie of this thire guilt in me is wanting,
And fo my pattent back againe is fweruing. 8
Thy felfe thou gau'ft, thy owne worth then not knowing,
Or mee to whom thou gau'ft it, elih miffaking i
So thy great guilt, vpon milirilion growing,
Comes home againe, on better iudgement making, x .
Thus haue I had thee, as a dreame doth flatter:
In fleepe a King but waking, no fuch matter, x4
J. REEKES, about 85 o. Solo. Six Shakspere Songs.' Lines -4.
*L. CARACCOLO, 879. Solo. Ricordi.

9 2 . "SAY THO' YOU STRIVE TO STEAL
YOURSELF A\VAY."
[Shakspere so loves his Friend, that if that Friend withdraws his
love from him, he will die, and be happy in his death. But even if
his Friend is false to him, he may not know it.]
Bvt doe thy worft to fteaIe thy li]fe away,
For tearme of life thou art althr/d mine 
And liti no longer then thy loue will flay,
For it depends vpon that loue of thine. 4
Then need I not to feare the worft of wrongs,
When in the leaft of them my life hath end
I fee, a better ltate to me belongs,
Then that which on thy humor doth depend : 8
Thou canft not vex me with inconftant minde,
Since that my life on thy reuolt doth lie :
Oh! what a happy tide do I finde !
Happy to haue thy loue ; happy to die! x 
But whats fo bleffed faire, that feares no blot ?
Thou maift be falce, and yet I knov it not. x4

9 -0 .

$Og.ETS II6, I 3.

lkIof true it is, that I haue lookt on truth
Alkonce and firangely : But, by all aboue,
Thefe blenches gaue my heart an other youth ;
And worfe el|hies, prou'd thee my befi of loue.
l,'ow all is done,--haue what thall haue no end,--
3Iine appetite I neuer more will grin'de
On ne er proofe, to trie an older friend,
A God in loue, to whom I am confin'd.
Then glue me welcome, next my heauen the bef,
Euen to thy pure, and moll mol louing breft !
#RtCHArD SLxPSO, X878. Solo. Lucas and Weber.

li6. "LET ME NOT TO THE MARRIAGE OF
TRUE MINDS ADMIT IMPEDIMENTS."
[Shakspere assures his Friend that Love lasts thro" all changes and
disasters, even to the edge of Doom.]
Let me not to the marriage of true mindes
Admit impediments. Loue is not Ioue,
x, Vhich alter when it alteration findes,
Or bends, with the remouer, to remoue. 4
O no! it is an euer fix/d marke,
That Iookes on tempefls, and is neuer flmken ;
It is the liar to euery u andring barke,
x, Vhofe worths vnknox he, although his high be taken. 8
Lou's not Times foole, though rofie lips and cheeks
a, Vithin his bending tickles compaflh come !
Loue alters not with his breefe houres and weekes,
But beares it out euen to the edge of doome ! x 
If this be error and x port me proued,
I neuer writ, nor no man euer Ioued. 4
JOHN ]3RAHAM, 1828. Duet: Soprano, Tenor. Sung by himself and
Miss F. A)ton in Tamin X of the Slrew. Called "Love is an e'er-
fixed mark." Lines 5-4-

/23. "NO! TIME! THOU SHALT NOT BOST
THAT I DOE CHANGE."
[Shakspere fears not Time, or its works. He  ill be true to his
Friend for ever.]

Ioo

THE PSSIONTE PILGRIM.

Passionale Pil.q'rim. N O. 12.
I2. "CRABBED AGE _AND YOUTH."

[A Girl sings how she hates her old lover, and loves her )ouug
one, whom she bids hie to her soou.]
XII.
Crabbid age and youth cannot liue together,
Youth is full of pleafance, Age is full of care;
Youth like fummer morne, Age like x inter  eather,
Youth like fummer braue, Age like x lurer b;:re. 4
Youth is full of fport ; Ages breath is flort
Youth is nimble ; %ge is I.mei
Youth is hot and bold ; Age is weake and cold ;
Youth is wild, and Age is tame. 8
Age, I doe abhor thee] Youth, I doe adore thee]
O, my loue, my loue is yotmg]
Age, I doe defie thee ! Oh 1\ eet Shepheard, hie thee
For me thinks thou Ilaies too long.
G. GORDA,'q 1752. Duet : S.S. or T.T.
R. J. S. STEVE.S, 790- Glee for four male voices, A.T.T.B.
SIR HENRY R. BISHOP, 182o. Song. Sung b. .Xhss Greene in Opera
of Twelfth A't'ht.
CH',RLES E. HOR.',,, x823. Song in the operatized 3Jerry 14"ives of
l I "indsor.
SIR HENRY R. BISHOP, 15-24. Dramatic Trio, S.C.B. In ,4s lou
Like It.
EARL OF A'ESTMORELAND, 1833. Solo.
MRS. MOUNSEY BARTHOLOMEW, February 6, IR82. Song, Soprano or
Tenor. 'Six Songs.' .No. I. Lucas and Weber.

lassionale Pil.rim. So. 13.
3- "BEAUTY IS BUT A VAINE
DOUBTFULL GOOD."
XllI.
t)
Beauty" is but a vame and doubtfull good ;
A flaining glofl, that vadeth fodainlvi
A flower that dies, hen firfi it gins'to bud,
A brittle glaive, that's broken prelntly.
A doubtfull good, a glolt, a glafl, a flo er.
I oft, vaded, broken, dead within an houre.

AND

4
6

THE PASSIONATE PILGRIM.

XV. 1
It was a Lordings daughter, the fairelt one of three,
That liked of her nmilier, as well as x ell might be,
Till looking on an Englithman, the fairelt that eie could fee,
Her f, mcie t11 a turning. 4
Long was the combat doubtfull, that loue with loue did fight,
To leaue the maitter louelett, or kill tile gallant knight ;
'l_'o put in praetil either, alas it was a lite
Vnto tile lilly damfell. 8
But one mult be refufed : more mickle was the paine,
"l'h,t nothing could be  fed, to turne them both to game;
For of the two, the trulti" knight was  ounded x ith dilLlaine :
Alas, lhe could not heipe it.  2
Thus Art  ith Arme contending, x as  ior of the day,
"*,Vhich, by a gili of lcarning, did beare the maid away.
Then lullaby ! tile learned m,m hath got the Lady ga'y i
For no nay lbng is ended. I6
x,Vt. SHELt), 796- Song. Sung by Madame Vestris. Shakspere
Vo:al Album,' 864. No. _2.
CHARLES EtWAIO HORN, 1823. Song, Soprano. Sung in the opera-
tized ,ilcry I l "ires af I ! "imt, or. ' 5hakspere Vocal Album,' 1864
STEPHEN" GLOVER, 1846. Song.

[For No. 16, "On a day, alacke the day!" See Love's L#ou?s
Lost, IV. iii. 99-t 8, p. 2o-2 above.]

Passionale Pilgrim. No. 17, in 3 Parts.
PART I7. "MY FLOCKES FEEDE NOT."
[The Shepherd Coridon laments his wo (in thr outburst),
now that his Love has jilted him, and he must live alone.]
XVII. Pr I.
My flocks feede not, my Ewes breed not,
3Iv Rams leed not, all is ami 
Lou is e d)ing, Faithes dcf)ing,
Harts Sdenying, caulbr of this. 4
All my merry ligges are quite forgot 
All nay Ladies loue i, loft (God x ot ) 6
Where her faith xv firmely fixt in loue,
Thele a nay is plact without remoue. 8
 The poem usually numbered XV. is but a Continuation of XIV.
'The Lover' Night ot Waiting." See Prof. Dog, den's Intruction to the
forthcoming Facsimile of the little Quao of the P. P.
 Loue is = Lou,, Love's. a nen) ing, Qo. .

StIAKSPERE'S SONGS.
SERIES VIII. 3-

ADDENDA AND CORRIGENDA FOR SECOND EDITION.

P- 3, 1. 5. For(d. 1828) read(d. 1826).
P. 3, 1. 6. After English inserl Litolff, x 83.
P- 4- elween ll. 9 and o insert, *Henry Hugo Pierson, 1864. Chorus
for male voices. Written for the Shakspere Tercentenary.
P. 7, 1. 1of ram bollom. For 704 read 774- For Wilbey read Wilbye.
P. 7, 1. 11 from botlom. Af&'r Solo. insert (" First booke of Ayres or
Little short songs to sing and play to the lute, with the l'ase
\ iole "). Dole In and insert See
p. Io, 1. -,_2. For (d. 1828) rcad 1826. After Solo inserl Litolff, vii 40.
p. 13, 1 16from botlom. After Virginal Book add Page 235. Set b) Giles
l"arnaby.
p. "2-6, l. 7from ollo*n. For XVelden read Weldon.
p. "2_6, alfool. For Sacred, &c. read Royal College of Music.
P- 33, 1. 3fron bollom. /7o1" Dr. read Sir William.
P. 34, 1. 1of ram boltom. Cor C. Addison read John Addison.
p. 5o, 1. -"4- For Tenor Solo read Solo, Tenor.--and dele Composed..
Allen.
p. 52. 1. 16. Dc/e ( Pelham ...... I812), and inscrl il i*islead on
53, between lines -"2 and 23 imm, diately beforc G. Giordani.
P- 53, 1. "2_2. For Signor rcad G.
p. 58, I. 3from balloon. Cor C. H. Hubert read C. Hubert H.
p. 6 1. 22. Dele Dr .... MS.
P. 74, 1. 19. Add(=). tlfool add A'ole . Schubert's settings of
Shakspere's Songs were written at W/ihring in July 826. Cf. the
interesting anecdote as to " Hark the Lark ]" &c., in Grove's
Dictionary of 2l[usic, vol. iii. p. 327 a.
P- 74, 1. 34- After Winter's Tale dele (o.) andinserl ().
P. 74 (foolnole), I. 4from bollom, before Composed inserl ().
P. 74 (footnole), 1. 2from bollom, dele (2) and inserl ().
p. 8o, 1. I2 from fool. For Sonncl 25, Lines 1--4. read "2. 5. LET
THOSE WHO ARE IN FAVOUR WITH THEIR STARS.
p. lO8, last 2 lines. Rcad (The above " " (overline commas) are in
the original, &c.).

CRITICAL AND IIISTORICAL PROGRAM

OF TIII

TO BI GIVI2N AT

AT

UNIVERSITY COLLEGE, LONDON,

ON

FRIDAY, 9TH lI.%.Y, 1884, AT 8 P.M.

|3rincb for the ocict
CLAY AND TAYLOR.

MDCCCLXXX1V.

CONTENTS.

First Period : Early Contrapuntal ...
Second Period : Late Contrapuntal ...
Third Period: Early Harmonic ...
Fourth Period: Late Harmonic ...

page 3
,, 7
, I0
,, I7

FIRST PERIOD. EARLY C01TRAPUNTAL

TO MIDDLE OF SEVENTEENTH CENTURY.

"l's vocal pieces which are included in this program are
arranged not in strict chronological order, but so as to illustrate,
to some extent, the a-tistic development of the different schools
of music. As illustrations, however, they cannot all be con-
sidered typical and complete. Shakspere music forms but a small
part of music in general, the great composers having usually been
satisfied with texts of inferior literary value. Enghsh musicians,
indeed, have not neglected the capabilities of our best poetry; but
then English music is not a very important element in European
art. Our composers have seldom exercised much influence abroad ;
while they, on the other hand, have often been indebted to conti-
nental masters. It is true that in the Tudor period England pro-
duced a native and original school of music, but this school does not
present many peculiarly English features. Distinctions of national
style could not become marked until music had reached a more
advanced age.
At the Renascence almost every species of art had already
acquired elaborate technical resources, and was capable of express-
ing the energetic thought and vivid feeling of that creative time.
Music alone was in a backward state. It did not possess the material
means of raising itself to the level of other arts. The form of the
scale was still unsettled ; few appropriate and connected successions
of chords had been discovered; keyrelationship and modulation
were only half understood ; and instrumental accompaniment was
in its infancy. In part-music the treatment of the voices was
3 *

FIRST PERIOD. E-XRLY CONTRAPUNTAL. ITS CHAR.:CTERISTICS.
contrapuntal : t'. e. each part was of equal importance in producing
the general effect, but was not always of a melodious character if
taken separately. The absence of marked accent and definite phrase
often causes the rhythm of the old contrapuntists to appear vague
to modern ears. l}}dtation was the chief structural principle, and
was worked out in many species of fugue and canon, the different
voices taking up the same theme oue after the other, in different
parts of the scale, so that the latter portion of the theme often
formed a harmony to the beginning. The gcures of composition
were comparatively few aud rudimentary, Church music being
usually founded on the form of the motet, poetic on that of the
madrigal. Extended pieces, whether solo or concerted, x ocal or
instrumental, were as yet unthonght of.
The graphic means then at the musician's disposal were very
defective. "Fill the middle of the seventeenth century, barring was
not usual in English music, and the text ohen did not show even
where accidental flats, naturals, and sharps were to be used. All
these the singer had to supply mentally according to traditional
rules. Indications of speed, loudness, phrasing, style, and expression,
were likewise absent.
These difficulties have not prevented modern musicians from
appreciating the esthetic value of the early school, its sustained
style of grandeur and pathos, its liturgical solemnity. Sacred
themes engrossed the best talents of a large number of English
composers ; and as the Church was then the only schocl of technical
music, its stle pervaded other branches of the art, where subjects
of merely poetic interest were dealt with. Many of the cathedral
services and anthems of Tallis, Farrant, II)rd, llull, and Orlando
Gibbons are still kept alive by their merits ; while only a few of the
songs and madrigals of Ward, Wilbye, and  celkcs are now sung,
except for their historic interest.
llut while the learned musicians had been laboring at heavy
counterpoint, the natural, untrained talent of the people found
expression in an endless number of gay dance-ttmes and expressive
songs. Something of this gift of melodious iuvention appears in
the works of Dog, land, Ford, and Morley. But the unit n between
4

FIRST PERIOD, THOMAS WEELKES AND THOMAS MORLEY.

the popular and the technical elements was hardly acconlplished
till the eighteenth century, when every available form of dance
tune was eagerly caught up by composers, and worked into the
Suite, fronl which sprang the great designs of later instrumental
nlusic.

I..[ADRIGL. ll blat'k m0urtt . assi, mate ]i/grim, xvi. b.
By THOMAS WEELKES.
The date of this conlposel's birth and that of his death are
unknon. In 16oo he was organist of Winchester College, and in
i6o8 organist of Chichester Cathedral. In 1597 he published
three sets of madrigals, of which the second begins our program.
The words are takcn from the ],tssion,tte ]ilgrim, a collection of
poems published by one Jaggard, with Shakspere's name as author ;
though most of them, including nos. i, i7, and iS in the present
program, were by other writers.
XX'eelkes composed two more sets of madrigals between 1597
and 16o8.
This madrigal is a good example of the style, being full of in-
genious contrapuntal imitation. The omission of the third in several
chords, and the use of the triad of I:} in the key of F, are noteworthy.
The derivation of the word madrigal has been much disputed.
Passing by the conjectures of unscientific  riters, it will be enough
to quote the opinion of I)iez (diits). IIe gives an earlier form of
the word as mamb'iale, and considers that it is 'not improbably'
descendcd fi om I.atin mandra, a flock, or a shepherd's song.

2. SO,G. ]t tua a 10brr an hi la. .,is l',,u Like I6 V. iii.
Ily Tuo.ms 3IOtVLV (born about 55o, died I6o4).
In 59  he was organist of S. Paul's Cathedral, and in 59-"
Gentleman of the Chapel Royal. His compositions were more
melodious than those cf most of his predecessors, and many of his
madrigals and 'ballets' have obtained lasting popularity. This
song (No. ) was printed in ' The first book of ayres or little songs
to play on the lute,' 16oo. A copy in MS. of at least as emly a
date is preserved in the _\dvocate' Librm3", Edinburgh.
5

SECOND PERIOD. L-XTE CO.NI'RAPUNTAL. LAWES BANISTER.
house than a church. This was the first time of change, and now
we no more heard the cornet which gave life to the organ; that
instrument quite left off in which th English were so skilful !'
Of the older compos2rs Henry Lawes was the most successful
in adopting the new style. But he, like the rest, had soon to give
place to the rising talent of Pelham Humfre)', Michael Wise, and
John Blow, choristers in the Chapel Royal. IIumfrey was sent by
the King to study in Italy and France. On his return he brought
an important element into English music, viz. declamatory power.
The forcible expression of the words, the careful observance of
quantity and stress, and the discovery of dramatic effects in pro-
grcssions and modulations, fascinated and absorbed this fresh and
igorous school. Their productive time was dcstiued soon to end,
for tIumfrey died in I674, and Purcell, who imitated and excelled
him, died in I695. Each shoxxed, even in a short career, remark-
able creative powers, attended of course with some defects as
regards continuity and design, since these qu:dities are usually
absent at the beginning of a new period in music, and only re-
ar, pear when the style arrives at maturity. This stage the later con-
trapuntal school did not reach in England. Purcell left no equal,
and the prospects of native music were not improved by the intro-
duction of Italian opera, anal the advent of H,'end:l. This composer
almost fills up the musical history of England till the middle of the
eighteenth century. In his oratorios the contrapuntal style received
its highest development, the most artificial devices of imitation
being used with admirable effect in many styles, epic, lyric, and
dramatic. Many of Milton's finest passages form the foundation
of his works. We must regret that he was not also attracted to
Shakspere.
4. Sox. C0mc uitt0 tltcc cll0 atb. 7"cmt'est, I. ii.
By Jolly BANISTFR; born I63o ; died 679.
His father, one of the Waitts of the parish of S. Giles-in-the-
Field, was his instructor in the rudiments of music. Haing be-
come a good violinist, he was sent by the King to France, and in
663 was appointed 'chief of his 3Iajest)"s violins.' It is said
that he-was dismissed from this post for saying, in the King's
8

THIRD PERIOD. EARLY HARMONIC. ITS CHARACTERISTICS.

THIRD PERIOD. EARLY HARMONIC.

SECOND HALF OF EIGHTEENTH AND BEGINNING OF NINETEENTH
CENTURY.

THE periods of mnsical history cannot be defined exactly by
dates. Before the contrapuntal s:yle had even reached perfection,
another style, the harmonic, b:gaa to appear; and when the l.tter
became predominant the former did not die out, but has lasted, in
certain branches of the art, down to our own time. .\lthough the
different schools overlap in this ay, there is a marked di.-tinction
between the style characteristic of the earlier part of the eighteenth
century, and that which aftcrw.:rds prevailed.
The chage was connected with the rise of the great solo singers
aJ d solo violinists, ho then appeared in many countries, but
lrincipally in Italy. Their powers could not be exhibited to
advantage in contrapuntal music, for this was essentially a choral
style, without contrast or variety between one vocal part and
another. The melodic interest now became concentrated in a
single part, to which the rest merely supplied a harmo: y. In this
way the prominence of the soloist was secured ; and a style of melody
far more brilliant and ornate than any previously knob:n, came into
fashion.
The growth of instrumental accompaniment also helped forward
the new school. In the contrapuntal system, lae different capabili-
ties and resources of the various orchestral instruments were but
slightly studied or utilized. The same kind of treatment was
applied to the accompaniment as to the voice, although many
passages, too difficult to be sung, might be safely assigned to the
violin and oboe ; while, on the other l-,and, the trumpet and horn
were not at all adapted for p'.aying contrapuntal themes, but chiefly
for sustaining single notes in the harmony. Thus a complete trans-
formation was brought about, when composers began to discover
the endless effects of ornament and expression which could be
btained from orchestral coloring.
It is unfortunate that there is no accurate and popular name
for the st)-le of music that succeeded counterpoint. The terms
IO

THIRD PERIOD. JAMES HOOK, DR. COOKE, AND C. E. HORN.
13. SONG. _li[[0tU 0ng. Olhdl,, IV. iii.
]3y J_.XES HOOK ; born at Norwich 1746, died at Boulogne i827.
He was for many years organist of S. Johu's, Horseley Down.
From I774 to i8_,o he was organist and composer at Vauxhall
Gardens, and wrote a large number of glees, catches, and songs.
IIe published an oratorio, the 'Ascension,' in I776. His 'Lass
of Richmond ]Iill,' "Twas within a mile,' and 'A little farm
well tilled,' continue to be popular ; and many of his other pieces,
such as ' Sweet Lilies of the Valley,' 'Th Maid of the Green,'
only require to be revived to gain equal f.tvor.
14. GLEE. _arl;, hark, the lark. Cymbelh,e, II. iii.
]3y ])R. ])ENJA,XlIN COOKE; born 1734, died 1793.
At twelve years of age he became deputy-organist of Westminster
Abbey, in 757 was appointed master of th2 choristers there, in
758 lay vicar, and in i762 organist of the Abbey. In I775 he
passed as Doctor of .Music at Cambridge, and in  78-" was admitted
to the same degree at Oxford. l)r. Cooke's compositions, which
are voluminous, are for the Church, concert-room, and chamber.
The works by 'hich he is best known, and which will hand down his
name to posterity, are his numerous and beautiful glees and canons,
for seven of which he gained prizes. Apart from his eminence as
a practical musician, Dr. Cooke was one of the most learned
theorists of his time. He died Septemb,_*r 4th, I793, and was
buried in the cloisters of Westminster Abbey, where a mural
tablet recounts his merits and exhibits one of his canons in three
parts by augmentation and diminution.
15. Dc':. :[: kn0t a bank. Vidsummer Tghfs Dream, IT. ii.
]3y CHARLES EDWARD HOR. ; born x786 , died 849.
Horn was a singer. His voice was poor, but of such extensive
compass that he was able to take baritone as well as tenor parts. He
also displayed considerable ability as an actor. He composed many
small operas, in which some of the songs remain popular to the
present time ; as, for ins'.ance, 'Cherry ripe !' ' I've been roam-
ing,' and ' Thro' the wood.'
5

FOURTH PERIOD. THE ROM.NTIC MOVEMEXT.

Music, indeed, is no longer dependent for subject-matter on either
liturgy or drama. Instead of being a decorative adjunct, a translation
of literary ideas, music has become an original structure, an inde-
pendent creation. It presents itself as a new language for thought
and emotion ; not possessing the definiteness of speech, but far
surpassing it in range and power. The first composer who thus
drew his inspiration direct from life was Beethoven; and he has so
familiarized the world with what is called 'poetic music,' that one
can hardly now realize how startling must have been its first
apparition, eighty )'ears ago.
Released from so many conventional trammels, music could not
fail to be soon transformed by the ' Romantic movement.' Every
phase of this influence, long ago recognized in other arts, had its
analogue in music. ' Local color' was closely studied, with a new
and deeper feeling for the characteristics of folk-song. The
Bohemian, Suabian, avd Spanish elements were brought into
cultivated music by Weber, the llungarian Gipsy by Schubert, the
Highland Keltic by Mendelssohn in his Scotch Symphony and his
Overture, 'Fingal's Cave.' The Slavonic teml)erament has also
arrived at artistic expression, seeming to promise a renewal of
European music now that the decay of German originality has
followed the decay of Italian. In the study of dramatic appro-
priateness, even savage music ha not been neglected. One of the
first successes in this branch was the Chorus of Dervishes in
Beethoven's ' Ruins of Athens.' A native Arabic melody is taken
as the foundation of an elaborate finale in Weber's 'Oberon,' and
the same opera contains an unsurpassable picture of Islamite
truculence, in the chorus, 'Glory to the Khalif.' If the plot of a
new work is laid in Japan, and the composer does not produce
SOlne eccentric eflicts, capable of being interpreted as ' local color,'
he is at once denounced by the critics.
Weber, again, was the first in music to adventure into the realms
of diablerie and fair)land, and to call up the forms of fiend, wizard,
sprite and mermaid, with the living and fascinating reality of folk-
lore. .Mendelssohn, whose 3[idsummer Vighfs l)rcatn is also
i::spire,1 by the magical style, was perhaps too classical an artist to
x8

FOURTH PERIOD. THE ROITIC MOVEMENT. SCHUBERT.
meet with such perfect success in this purely 'barbarian' mystery.
Later composers have often followed in the steps of these two, and
the manufacture of the supernatural is now a well-understood and
formulated process.
While the nineteenth century has seen an unliring search after
every possible or impossible beauty, after every kind of ornate or
picturesque material, it has also been marked by a strong taste for
the sombre and the grotesque. The exciting and exhausting effects
of romantic art necessitate the use of violence and ugliness as means
of contrast and relief. Philosophical exposition of this method
may be found in Vischer's 'Asthetik der Hmsslichen.' To Men-
dclssohn, this aspect of the romantic movement appears to have
been repulsive. I t the nervous excitability of his style, its fanciful
elegance, elaboration of detail, and breathless speed, mark it clearly
enough as an offspring of the nineteenth century. Possibly, future
music m W go so much farther in the same direction, as to make
the works of the present day seem colourless and pedantic by the
side of the more drastic and original efl)cts which then may be
discovered.

8. So,'a. ]]ark, hark. the ark. Cymbdine, IT. iii.
By FRxz PETER SCH'eew; born Jan. 3x, I797 ; died Nov.
9, 8z8.
Lichtenthal, near Vienna, was Schubert's birth-place, but his
ancestors came from Moravia. Befinning to compose when only
thirteen, his progress as a musician was interrupted by his turning
school-teacher, in order to avoid the conscription. When seven-
teen, his first mass attracted the attention of Salieri, an old Italian
composer, long resident in Vienna, who took him up and gave him
lessons. Schubert lived for many )'ears in great poverty, supported
sometimes by the friends he had made by his music. He attracted
little public notice till about 86, when Vogl, a Viennese Opera
singer, made his acquaintance, and was fascinated by his songs.
In 88 he became teacher of music in the family of Count Johann
Esterhazy; and retained this situation for seven )-ears. The sum-
mers were passed at the Count's Hungarian country-seat ; the
x9